Review

Well, it's official, isn't it? All the critics and pundits
and players are crowing that the movie musical is back in fashion. First Moulin
Rouge and now Chicago have brought the staid, silly musical into the
21st century with style and panache. Hallelujah and amen, we're back to
singing in the rain.

Or are we? Is the musical in its current incarnation the
same as that of old? Not really, which is why these two new musicals have
triumphed. Moulin Rouge brought MTV editing and music to a mythic story
that connected on an emotional level. Chicago takes a different, and in
many ways, more satisfying approach. The characters no longer burst into song
in real life, but instead in their imagination. Roxie Hart, the protagonist,
is a two-bit singer and dancer without much more than determination, but when
she imagines herself singing we are treated to a song and dance extravaganza. Moulin
Rouge was important and heavy beneath its flash, but Chicago is
nothing more than bawdy fun.

Director Rob Marshall has utilized his medium well and taken
two performers who cannot sing and dance all that well, Renee Zellweger and
Richard Gere, and through studio recording and film editing, made them believable
as vaudeville stars. In fact, one of the most satisfying aspects of this
recording is that while certainly polished, the vocal sheen found in most movie
musical recordings (remember Evita?) is not found here. The grain of
the voice, as it were, is allowed to surface, adding more depth and realism to
the performances. Not to say that you want to listen to Richard Gere on your
CD player every day, in fact I would suggest skipping all his songs with your
program button, but it does add something on screen.

Those who know the Broadway revival version of Chicago
will realize that several numbers have been cut and a new one, "I Move On,"
added. The style of every song is pure 1920s Chicago – hot jazz, cool blues,
and show-stopping vaudeville, all delivered with gusto. Zellweger comports
herself nicely, singing sultrily when needed and breathlessly most of the time,
and the less said of Gere's singing the better, although he does a fine job.
Of the three leads, the best by far is Catherine Zeta-Jones whose rendition of
the opening "All That Jazz" sets a high standard for the rest of the
album. That standard is met by the supporting players. John C. Reilly's "Mister
Cellophane" is heartbreaking and one of the best songs on the disc. The "Cell
Block Tango," delivered by the female inmates, will stay in your head for
days. But all pale in comparison to Queen Latifah's "When You're Good to
Mamma." She obviously has the best pipes of the bunch and her performance
is the true showstopper of the recording.

Included with the songs from the film are two short original
score cues by Danny Elfman. Elfman, best known for quirky and dark scores, has
tread these waters before in his "Oogie Boogie's Song" from The
Nightmare Before Christmas, and his score to Dick Tracy. Here he
presents "After Midnight," a slow New Orleans Dixieland jazz number,
and "Roxie's Suite," a fun upbeat piece that complements the songs
from the musical. A fun diversion for the composer and the listeners, they act
more as filler than substantial composition. Also included are two obligatory
pop numbers. The first is a remix of "Cell Block Tango" by Queen Latifah
and Lil' Kim featuring Macy Gray. Although certainly made for commercial
reasons, this remix succeeds wonderfully in bringing the situations presented
in the tango into the present. It is a welcome addition. The second song, Anastacia's
"Love is a Crime," is nothing more than end credit music that doesn't
show up in the end credits.

Is the musical back to stay? If Hollywood keeps producing
smart, well-crafted musicals like Chicago then there is a good chance
the answer will be yes. Is the cast recording back with it? While not
consistent, this recording has a few wonderful heights to which I will return
and serves as a fine souvenir of the movie. Besides, by purchasing it, you're
certainly being good to Mama, and we all know what that means.